The "Awakening" of musical theatre

A totally original new musical is now on Broadway, leaving me infinitely excited for the future of musical theatre. Its name? Spring Awakening. With a driving rock roll score by singer/songwriter Duncan Sheik ("Barely Breathing" was his big hit) and Steven Sater that for once fulfills the promise of honestly sounding like it could be on the Billboard charts, Spring Awakening manages to chisel its own unique spot next to Rent as a musical addressing timely issues relevant to young people today.

Managing to cover the issues of pregnancy and abortion, homosexuality, masturbation, teen suicide, physical and sexual abuse, and blossoming sexuality within the confines of 2 hours and 25 minutes, the show also manages not to be cloying or overbearing in presenting its messages, instead presenting rather compelling and emotionally complex young characters who suffer terribly for the ignorance bestowed upon them by their overbearing and withholding parents.

Anyway, there's not very much I can say that's negative about the show. The performances by the young cast (some of whom are still in high school) were wonderful. The design was functional and evocative, utilizing exhilerating neon lights and a sparse but effective setting. Michael Mayer's direction was also quite creative, transitioning expertly between the historical setting of the action (1890s Germany) and the modernity that explodes out of their more angsty moments as characters pull microphones from their preppy school jackets and don the roll of inner rock star.

It was a breathtaking night of theatre that I hope as many as possible get to experience. The audience when I saw it gave it such a strong ovation that the cast was forced to return to appease the crowd, which had continued to clap to an empty stage for several minutes once the cast had taken its bows.

Do I smell a hit? I hope so.